Style
Dussek was a predecessor of the Romantic composers for piano, especially Chopin, Schumann and Mendelssohn. Many of his works are strikingly at odds with the prevailing late Classical style of other composers of the time. However, despite his departure from the mainstream idiom of contemporaries like Haydn and Mozart, Dussek's stylistic influence over later composers was limited since his works remained highly obscure and largely unknown outside of England. The evolution of style found in Dussek's piano writing suggests he pursued an independent line of development, one that anticipated but did not influence early Romanticism (somewhat in the manner of Gesualdo).
His more notable works include several large-scale solo piano pieces, piano sonatas, many piano concertos, sonatas for violin and piano, a musical drama, and various works of chamber music, including a Trio for piano, horn and violin, and the highly unusual sonata for piano, violin, cello and percussion entitled The Naval Battle and Total Defeat of the Dutch by Admiral Duncan (1797, C 152), which is an extremely rare example of pre-20th century chamber music that includes percussion.
Read more about this topic: Jan Ladislav Dussek
Famous quotes containing the word style:
“I would observe to you that what is called style in writing or speaking is formed very early in life while the imagination is warm, and impressions are permanent.”
—Thomas Jefferson (1743–1826)
“I concluded that I was skilled, however poorly, at only one thing: marriage. And so I set about the business of selling myself and two children to some unsuspecting man who might think me a desirable second-hand mate, a man of good means and disposition willing to support another man’s children in some semblance of the style to which they were accustomed. My heart was not in the chase, but I was tired and there was no alternative. I could not afford freedom.”
—Barbara Howar (b. 1934)
“As we approached the log house,... the projecting ends of the logs lapping over each other irregularly several feet at the corners gave it a very rich and picturesque look, far removed from the meanness of weather-boards. It was a very spacious, low building, about eighty feet long, with many large apartments ... a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus.”
—Henry David Thoreau (1817–1862)